RELITIGATING HIGH SCHOOL Vol IV: Trivium - Ascendancy

I'm not making the boat rudder joke
 

I've recently learned about the theory that the kind of music you hate the most tends to actually be superficially similar to the kind you love the most.  Your natural assumption would be that somebody's least favorite style of music is the one the most opposite to their favorite, but ask any outlaw country fan what they think of Florida Georgia Line, or any jazz fan what they think of Kenny G's schlock.  Most pertinent to this series, ask any underground metalhead in 2005 what the worst genre was and they'd probably say metalcore.  The idea is that this is due to a sort of "musical uncanny valley", where you hate what you hate the most because it's almost something you love, but something about it is just too off, too artificial, too wrong to truly be what it is you love, and that gives us a sort of fight-or-flight reaction of visceral disgust.  I've been thinking about this a lot as I explore these metalcore bands for this series, and I think Trivium here is the poster child for metal's uncanny valley.  I know I spend a lot of time harping on how metalloids are obsessed with aesthetics and reflexively reject bands that don't look the part, and I still think that's true to an extent, but this way of thinking has really helped me to understand why this entire scene got shat on by the underground for so long, and Trivium in particular got it real bad.  They were an internet punching bag for years and I didn't even really question it.  Of course they sucked, I mean come on, have you listened to them?

 

I didn't start this series with the intention of pointing at maligned releases and just saying "Thing Good, Actually", but it was inevitable that it would happen at least once and I'm just as surprised as you are that Trivium wound up being the lucky winner.

The reason I think Trivium hit that musical uncanny valley more than any of their peers is because holy shit I never realized how 80s these songs are.  Seriously!  There are loads of things for classic metal fans to enjoy here, mostly in the absolute heaps of influence they took from Metallica and Iron Maiden.  The Crusade is obviously their "We're thrash now for real please respect us" album, but Ascendancy is the one I remember being their breakthrough and the one that started all the backlash, and I can see why people had that reaction to it.  Sure there are tons of dueling solos and harmonized melodies and bona fide thrash riffs, but there is enough that's just left-of-center enough to feel inauthentic.  Something simple is the fact that the album is played in Drop D tuning.  For the non musicians, all you really need to know is that dropped tunings simply aren't the approach that most bands take if they're aiming for the sound Trivium was aiming for here.  That's more the domain of grunge, nu metal, and, well, metalcore.  It's very easy to get huge sounding powerchords that jump around the neck with that top string down a step and it's conducive to writing big fuckin' breakdowns and really fast chug riffs (both of which this album doesn't necessarily shy away from, in fairness).  Hearing somebody take that tuning and basically rewrite "Trapped Under Ice" with it just feels different, and even if you don't know or understand all that, your brain picks up on it.  The tuning isn't the be-all-end-all wrong part, but it's one element of several that divorces Ascendancy from its roots just enough to feel like some sort of forgery.

But honestly, it's not really an impostor because the music is surprisingly legit.  That opening attack of "Rain" is absolutely devastating, "Drowned and Torn Asunder" is genuinely just thrash metal with a beefier low end, "Declaration" sounds like a squadron of machine guns, "A Gunshot to the Head of Trepidation" has a main riff that sports an incredibly infectious hook and transitions into some of the most Maiden melodies that Maiden never wrote.  Everywhere I look there's something else I enjoy.  My memory told me this had very pedestrian drumming but it's actually mega energetic, and the solos are some of the best the genre ever produced.  The sound is great, the songs generally smash (though of course the more melodic ballady songs like "Departure" and "Dying in Your Arms" are incredibly boring and throw a monkey wrench in the album's momentum), hell even the common problem of bands strictly adhering to pop song structures isn't as obvious or irritating this time, even though they pump out a lot of standard verse-chorus-verse-chorus-bridge-solo-chorus songs regardless.  There's enough variety in approach that it doesn't get nearly as tiring as it did with Killswitch.  The cliches are still here of course, the choruses are almost uniformly cleanly sung and the most intense part of any given song is the first fifteen seconds, but it feels less dogmatic and more loose here.

However there's an elephant in the room here.  I haven't brought up the vocals yet, and that's because "Beefy" Matt Heafy has the absolute worst scream in the scene.  His harsh vocals are unbearably inept, to the point where they genuinely hinder my enjoyment to a surprising degree.  His cleans are fine, unremarkable but serviceable, but his harsh vocals are leagues below anybody else I've heard so far.  They're very hoarse and scratchy, like somebody running their nails down drywall.  He sounds like he was moderately thirsty but decided to track every single song in one long take before getting a glass of water.  I like to imagine his clean voice is his only real voice, and the screams are just the result of something like that Finnish cough drop commercial where the black metal guy takes a lozenge and then starts singing like Pavarotti.  That bit at the end of the second verse of "Pull Harder on the Strings of Your Martyr" where he goes "I'LL BURN YOUR WOLLL" sounds drier than Ben Shapiro's wife.  More than anything, Trivium needed to tell Heafy to just stick to guitar while they hired a real vocalist, because he's pretty good at guitar and unbelievably bad at vocals.  I know Trivium is still releasing new albums to this day and I hope to god he's either improved or dropped them entirely to focus on clean singing, because god damn I can not stress enough how awful they are.  Imagine starting a thrash band and then letting some kid who has never screamed before but was into Terror last summer handle the vocals, because that's not too far off from what we got here.

It's such a shame that the vocals are as bad as they are, because they're really the only element of the album that I actually think sucks.  On an instrumental level Ascendancy sits somewhere in the high 70s/low 80s range; not great but it's consistently quite good.  But those screams are so prominent and so bad that they seriously shave off like twenty fuckin' percent off the final score for me.  Running classic non-extreme metal through a filter of modern melodeath that makes it both heavier and catchier should be easy as hell to do, but the vocal choices they made here just amount to a stake through the heart.

RATING: 62%